Michael, one of his great early works, is the embryo of many experiments to come. Michael (1924)įew filmmakers understood the power of the close-up like Danish master, Carl Dreyer. This surprisingly modern approach – despite a few obviously antiquated points – cries for the help of sound to break the silence and start a conversation about the reality of homosexuality. Yet when the couple seeks the help of a sexologist, intertitles multiply as he explains their sexuality as normal but misunderstood by society. The silence of both men reveals the shame and taboo surrounding homosexuality. When Franz, a man Paul was trying to seduce, extends his open palm towards him, Paul does not need to hear an explanation: he knows he’s been blackmailed. Each facial expression is meaningful, communicating overwhelming and conflicting emotions. Kurt’s gleaming eyes stand out in a classic, luminous close-up against a black curtain while he stares at his crush playing the violin. Paul and Kurt discover their mutual appreciation in exchange of looks only. It reveals the necessity of speaking voices and communication. Indeed, silence here speaks volumes, but can also become stifling. In 1919, long before 1927’s The Jazz Singer, Different from the Others already pointed to the power of sound, and did so by toying with the medium’s limitations –or should we say, unique proprieties? – of silence. The countdown starts below, then check out the second part. We’ve taken a look back over a century of cinema and selected 20 important films that explored gay representation on screen. Our choices range from the silent era, where this was a love that (literally) couldn’t be spoken of, through to a neo-western which brought same-sex love to a mainstream audience.